The Edge of Silence is a liminal space; a threshold between the noises and claims made upon us and a place of subconscious contemplation. These works capture moments of ambiguity where abstraction becomes reminiscent of spaces and places we have inhabited; where the viewer can cross their own thresholds.



April 2018 – Current

Lynda was successful in gaining funding for Tracking Turner from the Visual Arts and Craftmakers Awards: South of Scotland 2017/18 in partnership with Creative Scotland, Live Borders and Dumfries and Galloway Council.

Please contact Lynda for more information on upcoming Turner themed workshops.

This project is a self directed period of artistic development and experimentation working on notions of landscape painting, using JMW Turner’s painting Melrose (1831) as a literal and metaphorical anchor point. The starting point for this project is the physical and geographical link with Turner and the Scottish Borders.

Preliminary Studies | Mixed media on cardboard files (2018)

I have become aware that this landscape has seeped its way into my paintings and drawings; the locale has started to appear unplanned and of its own volition, causing me to consider the historical context within which I now seem to be painting. Recently this was made more tangible during a conversation with a stranger by the river Tweed. He explained that two gnarled hawthorn trees can be seen in Turners painting, ‘Melrose’. These two trees have been daily landmarks for twelve years in my regular wanderings by the Tweed, ten minutes from my studio.

Preliminary Studies | Sketchbooks (2018–2019)

Joseph Mallord William Turner | Melrose (1831) | Watercolour with scraping on paper | More here

Within the life-span of a tree, two painters connect across history. These trees now act as a focal point which roots and locates a sense of place.

Shadowed Water  150cm x 120cm | Mixed media on canvas | Commission (2019)

Shadowed Water
150cm x 120cm | Mixed media on canvas | Commission


Commissioned Paintings

St Davids, Pembrokeshire, Wales

In early summer of 2018 Lynda was approached by an international architecture & design firm which funds a trust developing historical properties around the area of St Davids in South Wales. The organization was in the process of developing and extending a hotel and in the process of adding original artworks to their extensive collection. The remit for the commission was broad but central to its theme was for the artists to be inspired by the geography, geology, historical settlements, architecture, headlands, coastal cliffs, mythology and the magnificent cathedral of St Davids.

Lynda spent time in the area and embarked upon research and field trips in mid-2018. Early morning mists and diffused light influenced her palette, just as the inland heat-haze and intense afternoon sunlight over the coast heightened her use of colour and emboldened her gestures.

Five days were spent exploring, absorbing, walking, looking, seeing, taking photographs, sketching, interpreting the terrain. Lynda walked to Solva, St Davids Head and explored various coves and historical sites around the area. Once back in the studio in Melrose (Scottish Borders) a period of reflection ensued with the attendant feelings and memories being allowed to percolate and develop into the below paintings. These paintings are reflective of the artist’s physical and emotional experience in the ancient landscape of St Davids.

I am inspired by my immediate external environment and how, through the process of osmosis, I absorb visual information in response to these spaces. Once the mark making begins, it is very much an intuitive one, a visual dialogue starts to evolve between myself and the marks that are being produced. Through this diagloue the piece goes through various stages of change, be it scraping away the paint, turning the image, layering of paint, letting it settle, working areas up leaving marks and colours be until a visual resolution is reached.

Small scale works and miniatures

This page shows a selection of small works created in recent years. Many of these are part of ongoing projects. Please email Lynda for full details on each piece. Works are in acrylics & oils, mostly on panel and often framed.

Small Works by Lynda Marwood
Drawing Example


This page presents selected drawings and studies: created using pencil, pastel, charcoal, ink and watercolour. Please email for further information or sales.

Framed Example
The process of drawing opens up my practice: loosening and disinhibiting. An intuitive response to materials and the urge to discover directs the media in new directions. Drawing has the appeal of the minimal not necessarily with regards to the image but more the materials. Our ancestors scratched burnt wood on cave walls and still artists smear and scratch charcoal graphite, chalk and pastel across surfaces.

Painting has the luxury of time: days, weeks, months and more, the image emerging slowly out of the layers. Drawing is not afforded such luxury: usually completed in one rush of creativity, time seems compressed onto the page. Drawing is the most spontaneous of the visual arts with its sense of the immediate, it is intrinsically the record of movement in time, built from the history of its own making.

The continually shifting space between land and sea echoes the fluidity of the act of painting, erasure and deposit; where the artist scrapes back and lays down material. Tides and time, climate, light and space remain uncertain and fleeting. A heavy storm or the artist’s shifting mood changes the scene.  

Verge of the Sea (2018) | 100cm square, acrylic and mixed media on canvas, £1200

Flow with the Tide (2018) | 100cm square, acrylic and mixed media on canvas, £1200

On this Watery Shore (2018–2019) | Mixed media on panel, 84cm x 60cm, sold

Silent Tides Turn (2018) | 29.6cm x 20cm, mixed media on panel, sold

Scattered Waters (2018) | 40cm square, acrylic and pastel on panel, £500

Vigilant Spaces (2018) | 30cm square, mixed media on panel, £425

Threshold (2018) | 35cm square, mixed media on panel, sold

Reaching and Retreating (2018) | 30cm square, acrylic and oil pastel on panel, £465

Desolate Crater (2018) | 30cm square, mixed media on panel, £425

Pendulum Movement  (2018) | 40cm square, mixed media on panel, sold

Pendulum Movement (2018) | 40cm square, mixed media on panel, sold

A Secret Light (2017–2018) | 35cm x 20.5cm, oil on panel, £350

Collage offers a different physicality, tearing and stripping back to construct layers and boundaries. Previously discarded materials combine with other media to create new possibilities; small dwelling like shapes offer an impression of architectural scale.

Recent Collage Work + Open Box Series

These works form collage Set I

Objects (2019) mixed media collages (verso) from £55

Objects (2019) Mixed media collages (face) from £55


Collage XIII (from Set I) 2019


Collage Work
Until mid-2019

These works form collage Set II

Set II | Collages I – X | Mixed media on various card, assorted dimensions


Collage XI (from Set II) | Mixed media on card


Collage XII (from Set II) | Mixed media on card

Collage XIII (from Set II) | Mixed media on card


Collage Works that Feature in Other Series’

These works from Edge of Silence

A Cradled Silence | Collage on panel, 40cm square, £465

Dissolution of Order | Collage on panel, 30cm square, £450